Darcey Bussell Quotes

With dancing, you have to know spatial movement with somebody. It is steps. It's literally steps and knowing how close to be or how far away. You have to have the beat in the right place with the camera.

Anybody cannot be a dancer. A dancer must have a certain posture, gestures, height, behaviour.

My movement is usually about finding the balance between artistry, athleticism, and musicality. It always originates with a classical basis and expands outwards from that platform.

Ballroom dancing is so articulate. Your hips have to be a certain way, legs have to be straight at one time and bent another.

My choreography is very classically based.

I am not a dancer and for me, to learn the art is fun. It gives you the confidence that you can dance.

Whether it's dance or action, what's important is hand and body co-ordination. When you are a good dancer then automatically while performing action, the co-ordination is that much easier.

For 'Chicago,' the dancers need to demonstrate an affinity for the Fosse style. Sometimes dancers come in with brilliant technique, but if the Fosse style isn't easy for them, or it's awkward for them, they won't be right for this show.

Exactly the same with dancing, you can't dance until you've learnt steps, the things your feet can do.

At the ballet classes I took when I first came to New York, I would see great dancers like Cynthia Gregory and Lupe Serrano. I would look at them and study what they could do, and what I couldn't do. And then I'd think maybe they should try what I could do.

I feel I can handle the architecture of dance as well as anybody.

The steps must be second nature to me, so that the music seems to be drawing the steps out of me and I don't look as if I'm struggling to fit the steps to the music.

My years of ballet and jazz dance lessons didn't make me any more graceful - they just helped keep me from bumping into the furniture on stage.

Dance has helped me with everything. It was a great foundation for discipline, hard work and, unfortunately, the ever-elusive idea of perfection. It lends itself easily to fight choreography, because that's what it really is. Choreography. And knowing how to move with someone.

There might've been wires, but I have this ability to make myself light. Well you know what, in ballet, when you kind of lift yourself here, it's all up in the head.

'Empty Moves' is elegantly and coolly inventive. Two pairs of dancers shadow each other in slow, deliberate rearrangements and manipulations of legs and torsos, only occasionally switching partners or breaking free of the formal patterning.

The real American type can never be a ballet dancer. The legs are too long, the body too supple and the spirit too free for this school of affected grace and toe walking.

Ballet is like any other art form in that we all start out knowing nothing about it.

I have a strong dance background. I danced from age five until 18, and that helps a lot. Doing a fight routine is like doing a dance routine.

Rhythm is born in all of us. To be a desirable dancing partner, you don't have to do all the intricate fancy steps that happen to be in vogue. All you have to do is be a good average dancer, and anybody who spends the time and effort can accomplish this.

Actually I dance really well on the floor.

Good balance makes you a better dancer, musician, actor - anything.

I love to dance. I have always been the first on the dance floor, but I'm not teachable. I couldn't learn 'five, six, seven, eight' if my life depended on it.

I think it's one thing to be able to dance, and it's another thing to learn all the wonderful moments of dance because in my day... it was the moving of dance.

Technique wasn't my favorite thing to learn, and I doubt I would be great teaching it.